Raised to a life of relentless hard work as one of seven children of a single mother, Julie Waterman was married and having her own first child by the time she was 17. At 23 she was running her own cleaning company, making such a success of it that she was soon employing 400 people. But at 35 she gave it all up to buy a second-hand yacht and embarked on the biggest adventure of all - an attempt to sail single-handed round the world. There were parties in every port, along with a string of romances, some hilarious adventures and several narrow escapes from a watery grave. But Julie stuck to her plan - until a tropical storm left her shipwrecked on an island in the South Pacific, where she lived for three glorious years, falling in love with a handsome young French diplomat. Unfortunately her new paramour turned out not to be all he seemed - and Julie's round-the-world adventure was far from over. Shipwrecked in Paradise is the story of Julie Waterman's remarkable voyage across the world, complete with laughter, lovers, maritime mishaps, port parties and pink gins

Winner, 2016 Secretary's Research Award, sponsored by the Smithsonian Institution - awarded for author's contributions to research The first oceangoing yacht ever built in America, Cleopatra’s Barge, endured many incarnations over her eight-year life, from Mediterranean pleasure cruiser to a Hawaiian king’s personal yacht. The famed ship, at times also a Christian missionary transport, pirate ship, getaway vehicle, instrument of diplomacy, and racing yacht, wrecked on a reef in Hanalei Bay on April 6, 1824. Obtaining the first underwater archaeological permits ever issued by the state of Hawai‘i, a team of divers from the Smithsonian Institution located, surveyed, and excavated the wrecked ship from 1995 to 2000. The 1,250 lots of artifacts from the shipwreck represent the only known material culture from the reign of King Kamehameha II (Liholiho), shedding light on the little-documented transitional period from Old Hawai‘i to foreign influence and culture. Although Liholiho ruled Hawai‘i for only a few short years, his abolition of taboos and admission of the Boston Christian missionaries into his kingdom planted the seeds for profound changes in Hawaiian culture. Richly illustrated, Shipwrecked in Paradise tells the story of the ship’s life in Hawai‘i, from her 1820 sale to Liholiho to her discovery and excavation.

This impeccably researched and “adventure-packed” (The Washington Post) account of the obsessive quest by Christopher Columbus’s son to create the greatest library in the world is “the stuff of Hollywood blockbusters” (NPR) and offers a vivid picture of Europe on the verge of becoming modern. At the peak of the Age of Exploration, Hernando Colón sailed with his father Christopher Columbus on his final voyage to the New World, a journey that ended in disaster, bloody mutiny, and shipwreck. After Columbus’s death in 1506, eighteen-year-old Hernando sought to continue—and surpass—his father’s campaign to explore the boundaries of the known world by building a library that would collect everything ever printed: a vast holding organized by summaries and catalogues; really, the first ever database for the exploding diversity of written matter as the printing press proliferated across Europe. Hernando traveled extensively and obsessively amassed his collection based on the groundbreaking conviction that a library of universal knowledge should include “all books, in all languages and on all subjects,” even material often dismissed: ballads, erotica, news pamphlets, almanacs, popular images, romances, fables. The loss of part of his collection to another maritime disaster in 1522, set off the final scramble to complete this sublime project, a race against time to realize a vision of near-impossible perfection. “Magnificent…a thrill on almost every page” (The New York Times Book Review), The Catalogue of Shipwrecked Books is a window into sixteenth-century Europe’s information revolution, and a reflection of the passion and intrigues that lie beneath our own insatiable desires to bring order to the world today.

Four thousand years of shipwrecks in literature and film

A NEW YORK TIMES NOTABLE BOOK OF THE YEAR • From the widely acclaimed, bestselling author of American War—a beautifully written, unrelentingly dramatic, and profoundly moving novel that looks at the global refugee crisis through the eyes of a child. "Told from the point of view of two children, on the ground and at sea, the story so astutely unpacks the us-versus-them dynamics of our divided world that it deserves to be an instant classic." —The New York Times Book Review More bodies have washed up on the shores of a small island. Another overfilled, ill-equipped, dilapidated ship has sunk under the weight of its too many passengers: Syrians, Ethiopians, Egyptians, Lebanese, Palestinians, all of them desperate to escape untenable lives back in their homelands. But miraculously, someone has survived the passage: nine-year-old Amir, a Syrian boy who is soon rescued by Vänna. Vänna is a teenage girl, who, despite being native to the island, experiences her own sense of homelessness in a place and among people she has come to disdain. And though Vänna and Amir are complete strangers, though they don’t speak a common language, Vänna is determined to do whatever it takes to save the boy. In alternating chapters, we learn about Amir’s life and how he came to be on the boat, and we follow him and the girl as they make their way toward safety. What Strange Paradise is the story of two children finding their way through a hostile world. But it is also a story of empathy and indifference, of hope and despair—and about the way each of those things can blind us to reality.

Shipwrecked: Disaster and Transformation in Homer, Shakespeare, Defoe, and the Modern World presents the first comparative study of notable literary shipwrecks from the past four thousand years, focusing on Homer’s Odyssey, Shakespeare’s The Tempest, and Defoe’s Robinson Crusoe. James V. Morrison considers the historical context as well as the “triggers” (such as the 1609 Bermuda shipwreck) that inspired some of these works, and modern responses such as novels (Golding’s Lord of the Flies, Coetzee’s Foe, and Gordon’s First on Mars, a science fiction version of the Crusoe story), movies, television (Forbidden Planet, Cast Away, and Lost), and the poetry and plays of Caribbean poets Derek Walcott and Aimé Césaire. The recurrent treatment of shipwrecks in the creative arts demonstrates an enduring fascination with this archetypal scene: a shipwreck survivor confronting the elements. It is remarkable, for example, that the characters in the 2004 television show Lost share so many features with those from Homer’s Odyssey and Shakespeare’s The Tempest. For survivors who are stranded on an island for some period of time, shipwrecks often present the possibility of a change in political and social status—as well as romance and even paradise. In each of the major shipwreck narratives examined, the poet or novelist links the castaways’ arrival on a new shore with the possibility of a new sort of life. Readers will come to appreciate the shift in attitude toward the opportunities offered by shipwreck: older texts such as the Odyssey reveals a trajectory of returning to the previous order. In spite of enticing new temptations, Odysseus—and some of the survivors in The Tempest—revert to their previous lives, rejecting what many might consider paradise. Odysseus is reestablished as king; Prospero travels back to Milan. In such situations, we may more properly speak of potential transformations. In contrast, many recent shipwreck narratives instead embrace the possibility of a new sort of existence. That even now the shipwreck theme continues to be treated, in multiple media, testifies to its long-lasting appeal to a very wide audience.